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Output RC N16 [146Pag] ATRIUM COLABORARAM NESTE NÚMERO Contributors to this Issue RC, n.° 16, IIIa Série, 4.° Trimestre 2005 RC, no. 16, IIIrd Series, 4th Quarter 2005 TEXTO Texts Ana Maria Amaro David Brookshaw Jin Guo Ping Maria João Pacheco Ferreira Oswaldo da Veiga Jardim Neto Wu Zhiliang Yang Renfei TRADUÇÃO Translation PHILOS - Comunicação Global, Lda. (Português-Inglês e Inglês-Português) REVISÃO Proofreading Chao Siu Fu (Chinês), Luís Ferreira (Português), Design Victor Hugo Marreiros Cathryn Hope Clayton (Inglês) AGRADECIMENTOS A NOSSA CAPA Acknowledgements Em todo o mundo a criação e gostos musicais no seio de uma comunidade são componente importante Livros do Oriente da identidade cultural dessa comunidade. Assim é no caso de Macau, mais propriamente, Museu de Aveiro da cultura macaense – e nesta proposição se inspira a capa de Victor Hugo Marreiros. Revista de Cultura Museu de Macau apresenta um extenso trabalho, baseado numa tese de mestrado do maestro Oswaldo Veiga Jardim, dedicado à história das bandas militares e municipais de Macau (1820-1835). O artigo é complementado com a publicação comentada de um fac-símile do manuscrito original do Macao Hymno, de Melchor Vela, compositor “macaense” nado espanhol, e uma versão modernizada da partitura, documento revelador dos instrumentos musicais usados à época. Da identidade e memória de Macau trata também um artigo que revela e analisa, pela primeira vez, à luz da antropologia cultural, o vasto espólio de um médico aveirense, que aqui viveu e trabalhou nas primeiras décadas do século XX, recentemente colocado à disposição do público no Museu de Aveiro. Esta edição inclui ainda uma secção de Historiografia, fundamentalmente baseada em fontes chinesas que tenta desmistificar o “boato histórico” (para usar a expressão dos autores) sobre alegados actos de antropofagia dos portugueses de quinhentos na demanda do Sul da China. OUR COVER Across the globe, music making and composition lie at the heart of any community’s cultural identity. This is equally true in Macao, and it is from here that Victor Hugo Marreiros has taken his inspiration to design the cover for this issue which contains an in-depth history of Macao’s military and municipal bands (1820-1835) extracted from the M.Phil thesis by Oswaldo Veiga Jardim. The article is complemented by an annotated facsimile of the original score of “Macao Hymno” by Melchor Vela, a Spanish-born “Macanese” composer, and an up-dated version of the same work that casts light on the instruments used in the period when it was scored. Memories of Macao are also evoked from the perspective of cultural anthropology in an article examining the extensive collection at Aveiro’s Museum (Portugal) that belonged to a doctor from the town who practised his profession in Macao in the early decades of the 20th century. The section on Historiography presents an examination of the Chinese sources to the long-held rumour of cannibalistic practices by the early Portuguese navigators who sailed to South China. 4 Revista de Cultura • 16 • 2005 ATRIUM SUMÁRIO Index MEMÓRIA E IDENTIDADE * MEMORY AND IDENTITY 6 THE TRADITION OF “BANDAS DE MÚSICA” IN MACAO !"#$ Oswaldo da Veiga Jardim Neto 44 THE “MACAO HYMNO” ! Oswaldo da Veiga Jardim Neto 74 PAIBIAN, JINQI E JINGKUANG. DÍSTICOS LAUDATÓRIOS CHINESES DO ESPÓLIO DO DR. ANTÓNIO DO NASCIMENTO LEITÃO !"#$%&'()*+,-./01 Ana Maria Amaro HISTORIOGRAFIA * HISTORIOGRAPHY 94 A (DES)CANIBALIZAÇÃO DOS PORTUGUESES !"# $ Jin Guo Ping e Wu Zhiliang 105 OS SHENSHI DE MACAU EM MEADOS DA DINASTIA QING !"#$%&'() Yang Renfei 118 NOTÍCIAS DA SEDA. REFERÊNCIAS À SEDA CHINESA NA DOCUMENTAÇÃO IMPRESSA DOS SÉCULOS XVI A XVIII E SEU IMPACTE NA SOCIEDADE EUROPEIA 16-18 !"#$%#&'()*+,-./012)34 Maria João Pacheco Ferreira RECENSÃO * BOOK REVIEW 140 BETWEEN CHINA AND EUROPE: PERSON, CULTURE AND EMOTION IN MACAO !"#$%&'()*+,-+!./ David Brookshaw 143 RESUMOS 145 ABSTRACTS 2005 • 16 • Review of Culture 5 MEMÓRIA E IDENTIDADE / Música 6 Revista de Cultura • 16 • 2005 MEMORY AND IDENTITY / Music INTRODUCTION Though little-researched, wind bands were a phenomenon of great importance in nineteenth- century Europe. Portugal was no exception to this, and such bands played, and continue to play, an important role in Macanese musical culture. Besides the military band, whose origins date back to the early nineteenth century, and which continues to exist today,1 various school bands are also found today, continuing a tradition begun at St. Joseph's Seminary in the late The Tradition nineteenth century.2 As a European phenomenon, the musical band reached its apogee in the nineteenth century. The term, of “Bandas de Música” of controversial origins, probably signifies “troop” (from medieval French “bande”)3 or “banner” (from in Macao the medieval Latin “bandum”, related to the Germanic “bandwa”, “sign”),4 an allusion to the instrumental groups that used to announce the arrival of civil or OSWALDO DA VEIGA JARDIM NETO* military retinues. These groups consisted of trumpet and kettledrum players, and their music was originally very simple. The expression first came into use towards the end of the eighteenth century to designate military groups of woodwind, brass and percussion instruments. In the following century, the designation “band” was also applied to civil groups. The great European monarchies of the nineteenth century typically displayed military bands as a symbol of their superiority and power. In the nineteenth century, a type of repertoire encountered in cavalry regiments (“chasseurs” in France, “Jäger” in Germany), which was played only on brass instruments (mainly horns and bugles) became extremely popular.5 Compared to woodwind ensemble, this new type of The “Passeio Publico”, Lisbon, photo ca. 1870 (private collection of António Barreto, in Maria Filomena Mónica, Eça de Queirós, military band had many practical advantages: the Lisbon: Quetzal Editores, 2001) instruments could withstand bad weather, they could be played while wearing gloves (a compulsory part of military dress), and they were relatively easy to learn, * Born in Rio de Janeiro, Brazil, Veiga Jardim studied Conducting so that one person could play several instruments from and Composition at the School of Music of the Universidade Federal do Rio de Janeiro and holds a M. Phil degree in Musicology from the University the same family. In mid-nineteenth century France, a of Hong Kong, where he is currently pursuing his doctoral studies, focusing highly versatile type of civilian musical band developed his research on the history of music in Macao. He is Guest Adjunct Professor at the Macao Polytechnic Institute’s Arts School and since 2001 has held a seat out of this military prototype which would soon be on the Consultative Council for Cultural Affairs of the Macao SAR Government. imitated in Italy (“banda municipale”), Spain (“banda Nascido no Rio de Janeiro, Brasil, Veiga Jardim estudou Regência e Composição del ayuntamiento”), Portugal (“banda de música”, na Escola de Música da Universidade Federal do Rio de Janeiro. Detentor do grau “filarmónica” or “banda municipal”), and also in Macao de Master of Philosophy (Musicologia)pela Universidade de Hong Kong, onde prepara o seu doutoramento, incidindo a sua investigação sobre a história da música em Macau. (“banda municipal”). The French concert band of the É Professor Adjunto convidado na Escola Superior de Artes do Instituto Politécnico de Macau, integrando desde 2001, o Conselho Consultivo de Cultura do Governo late nineteenth century was much more versatile than da RAEM. its English and German predecessors, possessing a full 2005 • 16 • Review of Culture 7 OSWALDO DA VEIGA JARDIM NETO MEMÓRIA E IDENTIDADE / Música and equally smooth sound thanks to the presence of bankruptcy and state revenues were being consumed woodwind instruments and saxophones which replaced at a lavish rate by the Court, now living in Brazil. the traditional brass instruments in some passages, Popular dissatisfaction with the British presence in softening the shrill and sometimes coarse sound of Portugal was increasing quickly, as was the acceptance military bands until then.6 In Portugal, by the end of of French revolutionary ideals, liberté, égalité, fraternité. the nineteenth century, such bands acquired (and On August 24, 1820, a group of military and liberal maintain until this day) a significant tradition and supporters instigated a revolt in the city of Oporto which popularity. References from the late eighteenth century quickly spread throughout the country. Temporarily, demonstrate the existence, in the Portuguese fleet, of a the government was placed in the hands of a “Junta “música marcial” called “charamela”.7 In 1807, this Governativa” [Ruling Committee], whose task was to band accompanied the Portuguese royal family on their organise elections and prepare a new Constitution; this enforced trip to Brazil.8 One of the most important latter ended up being enacted in 1822 by Dom Pedro exemplars of the Portuguese tradition9 of “bandas de IV, a son of Dom João VI who had returned to Portugal música”, or civic bands (“filarmónicas”),10 which spread in 1821. The Constitution instituted a constitutional throughout the country and played a key role in local monarchy, representing the first great victory of musical education, was the military élite Banda da Liberalism in Portugal. However, the same liberal ideals Guarda Nacional Republicana (actually an emulation also led Dom Pedro to grant independence to Brazil of the French Garde Républicaine). Its origin
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